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Trevor Kerr demonstrates how simple C4D techniques combine for dramatic effects. See how simple modeling combines with Cinema 4D’s Cloner tool to create a complete sci-fi hallway. In a project for Dolby and Imaginary Forces, Trevor started with a landscape object and added extreme detail using the Sculpting tools. Finally, Trevor shows how NitroBlast can be used to pre-fracture an object, and creates a dynamic simulation using Cinema 4D’s Rigid Body Dynamics.

Transcript

- [Trevor Kerr] All right, so I'm Trevor Kerr from Kerr Motion Design.You can check out my website at kerrmotiondesign.com.I also have a Twitter that I just started last week, called @kerrmotion.So I've been in Cinema 4D for about four years, since 2012.I got my start in concert visuals, and more recently I've been kind ofpivoting to commercial and film work. I've been interested in cinematography andcameras since a really young age. This is a photo of me at age seven or eight, witha camera that my parents were gracious enough to get me. The Panasonic AG456Super VHS, if you guys remember that. Anyways, so that should actually say 2016.I'm just going to go ahead and pop up my reel, so you can kind of get an idea ofthe work I've been doing over the past year or so.♪ [music] ♪All right. Thank you. So that's kind of the stuff that I do.So today, I just wanted to... It's kind of a more loose presentationwhere I'm kind just answering questions that I get a lot about my work.So I'm just going to kind of try to answer as many of those as I possibly can.The first is depth-compositing. And when I say, "depth-compositing," I'm talkingabout, in this shot, all of this, anything you see with motion blur, all of this,like dust, and particulate and all of that, is actually just a stock clip.Whereas all the rest of this is the 3D render. And when I talk aboutdepth-compositing, basically, we're talking about adding that into yourscene in a way that is tracking with the motion, and is also wrapping aroundall of these little actual 3D scene pieces. So why don't we just go aheadand actually jump into Cinema 4D and see how we prep the scene for that. That's notCinema 4D. Okay. So, this one was done in Octane. And basically, just to give youa little overview on the scene, it's more or less just a giant spline with a cameraaligned to it. As well, there is this kind of satellite that I have,just animating along, and kind of dodging what you can't see right now.I'll turn it on in just a moment. It's kind of dodging theseasteroids that are blowing up. These asteroids are pretty much just simulationsthat I ran, and then brought in as Alembic. It's gonna take a minute inOctane to update here. But, anyway, so the first thing we need to do... There areactually a couple things we need to do. The first thing, is we need to get a"position pass" for where we want to stick that clip, which is gonna be, like righthere where the impact is going to happen. So we need data for that that we can usein the composite. As well, we're gonna need to get our camera relative to thatposition. As well, the last thing we will need is a Z-depth pass so then we can usethat to make a "hold-out" or "mask" off the footage, so that we can place it in,in-depth, wherever we want it within those exploding asteroids. Okay, so the firstthing... Let me go ahead and clear these out. The first thing we're going to do isget those nulls, essentially, we're going to export position points as a "null"into After Effects. And the way we're gonna do that, is... Let me just go alittle forward here, and pull these up. Okay, so when I ran these simulations,I made sure that the impact point is actually right at the center of the scene.So when I bring these in here, and into this scene, I can export the null and havethe impact right at the very center of that point. It's going to make it a loteasier when we go into After Effects to align that clip.So the way that we push it over is, we're going to right-click, Cinema 4D tags, andexternal compositing. So this is going to give us that null in that exact same spotin our After Effects scene. I'm going to go ahead and copy it over to the secondimpact as well. So we've got that. Let me get rid of these.Okay. So let me go ahead and load this back up in Octane.It will just take a minute. I think it's like 15 seconds or so.So, while this is loading, one of the things we kind of get an issuewith, with Octane, is that the background is all going to be black in the Z-Depthpass. Let me go ahead and switch this over, so you can see what I'm talkingabout. So black, we actually want to represent closest to us, and we wantthe background to be white. So, what I kind of do to fix this, is just add aplane to the camera. I'll actually recreate this for you too. So, what we dois just, add a plane, drop it in the camera, zero it out. And then the lastthing we need to do is orient it toward the camera, and then... I think it waslike, negative 50,000, or maybe positive 50,000. Yeah, there we go. So now we cansee it out there, but we actually need to make it really large, so I think 20,000was about the size. Okay, it's going to be bigger than that, but what we can do isactually just take these and drag them all the way out beyond the edges of the frame.Okay, so now you can see, we've got our background is white and our foreground isblack, and everything in between is gray. So, what we can do from here is actually,I think I've already adjusted this, yeah. I think it comes in at default as 5, andyou'll see that we're not quite getting all of our depth data here.So basically, we just increase until we see everything appear.I think I ended up around 60 on this one. Okay, so basically we'll just export that.We'll render that as a pass, and hop into After Effects.So, skipping all of the little composite elements and what-not...I'll go ahead and turn off my effects so we can kind of see this quickly.So I've got this clip here that is, pretty much, dirt exploding.All I have are a couple curves to bring it down into the palette of the scene.If I tic these on, you'll see, now we feel like we're in the same exposure asthe scene. The very first thing we're gonna do is bring in the C4D file.And actually, I've just remembered that I forgot something.So, to bring the camera in appropriately, I animated this on a null.If I were to bring this into After Effects right now, the camera is actuallygoing to stay in the same position and only give me my rotation,because it's looking at the local position of the camera.So what I need to do is I actually need to duplicate my camera, and there's a reallyinteresting tool where, if I first select... let me call this the "driven."Essentially what we're going to do, we're going to drive this camera, the globalposition of this camera, with the global position of our animated camera. There's avery quick way to do that. So if I select the driven camera first, and then thedriver second, and then go up to my character shelf, we're going to add a "PSRconstraint." And what that will do is... now if I look through my camera, you'llsee now it's constraining the position, scale and rotation of my new camera tothe old camera. So now what I can do is actually go... the way I like to do thisis to key frame a scale, stick a key frame on the scale so it spits it outinto the dope sheet. We're just gonna take the driven camera..."functions," and if we hit "bake objects,"this is going to give me basically, a position key frame and rotationkey frame for every single frame in my scene. So go ahead and hit "okay." Justtakes a couple seconds to bake this out. It's going to give me a new, third camerathat we'll call "render camera" or something. And that's the one thatwe're going to use in After Effects. So let me go ahead and hit "save" on thatguy. And now we'll load him into After Effects. So all I have to do when pullingthis into After Effects is literally click on the C4D file and hit "import."Okay, so if I right-click on my C4D file, and select "new comp from selection,"it's going to go ahead and make a scene already,with Cineware and everything enabled. All I have to do is hit the"extract" button. You're gonna see, we've got our render cam here, and those twonulls that I was talking about, that are the middle of the impact points of thosedynamic simulations. So if I just copy these over to my composite, what I'm goingto do... Give myself a little more slack here, I keep yanking myself off there.Okay, so I'm going to look at the impact point, the position of the first impactpoint, and just literally enter the same values in the position of my plate.So 1600, 0, and 15,000. Okay. So now, this is the actual center impact point of thepiece. I'm just going to offset it a little bit, because I know the collisionactually happens over here. So, you'll see if we kind of move along-- Oh, I thinkI have to enable the camera. Yeah. So you'll see, this moves along now with thescene. I can kind of just rough it in there. So, we're almost there. The onlything we want to do now is, this solar panel needs to be in front of our clip,and as well, we want to sync this clip plate down into, in between some of therocks and things. So the way we're going to do that is with that Z-Depth pass thatwe got from Octane. So we are just going to drop the Z-Depth pass above the plate.And under "track matte," we're going to click "luma matte."And so now you can see where we have to do a little bit of adjusting, but we'realready kind of in a place where you can see it's tucked into the 3D objects.If I click the clip, I can move it around. You can see we're interacting in there.I can re-map this a little bit by going into the Z-Depth pass and clicking"effects," "color correct curves," And as I do this, what we're doing iswe're adjusting the white point and black point of that clip.And I can kind of noodle around and sync it in however I please.And then if I just go ahead and enable my effects, we'vealready got a really good place to start, you know, diving further in and tweakingand making all those kind of adjustments. So that's one question I get asked aboutpretty often. The next question is usually regarding a piece I did for a companycalled Goodtheory Studios. It was a very exciting project, and I will go aheadand... let's see, key framing...I'm going to go ahead and play you a clip from it, and then we're going to talkabout how I ended up doing all the key framing for this piece.♪ [music] ♪Okay, so that's all hand key-framed, like every single little blink and luminancechange, and all of that, was completely key-framed by hand, which seems like amonumental task. It's a 12-minute song, but it actually took me only, maybe,half a day to build all that key-framing once I set up this rig.So let's go ahead and take a look at that.So the principle was that, trying a key frame in that giant scene takes likea minute and a half to load into Octane, and seeing the changes andwhatnot, it's not a very efficient way to work on a scene like that. So what I endedup doing was making a separate scene, kind of like a proxy scene, that I couldanimate in, and then port all of that stuff over to my main scene. And I'm goingto focus, kind of, on the scene that I built to help me with the key framing.Give it a second to load up here. All right, so the whole purpose of this was togive me some really quick and easy feedback and something I could ship offfor review, for animation and whatnot. It's something I could quickly iterate onand then go update my other scene file with. So, pretty much I just used Xpresso.And you can see... I'll go ahead and press play here. You can kind of get an idea.♪ [music] ♪So it's super easy to go back and iterate on this stuff very quickly,instead of jumping back into that scene file, and like,"Oh, I didn't like how the kick drum is hitting" or something like that.So basically, let me go ahead and show you how I set this up.It's ridiculously simple. Just make a couple cubes, and then three lights,or a light to go with each cube. And there is a way to do thiswithout lights as well, which I'll show you. Just pull these forward.And then we make just a null to drop everything in,and we'll call this, I don't know, we'll call it "the beat."And stick an Xpresso tag on. What we're going to do is add just a little bit ofuser data just so we have some sliders to play with while animating. So, we're goingto hit "add user data." I'm going to call this one, "1." We'll change this to"float slider," which basically gives us a slider with a little percent off tothe side. Duplicate. And we'll duplicate that a third time. What we're going todo is bring each light in, and drag the Xpresso in, and just expose those userdatas' sliders to the Xpresso rig. If I hold control and double-click on that, itjust re-sizes so that it's not all scrunched up. And, we just go into thelight, and, "general intensity." So now we can basically animate a 0 to 100%slider that will as well, talk to the 0 to 100% of the light, and give usreally, super quick feedback. And the last thing we need to do here is,we want these lights to be exclusive to each neighboring cube. So in the projecttab I'm just going to flip this to include, and just drag each neighboringcube in, or parent cube, I guess you could call it. So now with this little tinysimple Xpresso, we have just a little bit of an easy way to animate some key frames.This could be my kick drum, the high hat and the snare, for example.And I just sit there and animate on these. And then I can take this and then drivewhatever I want. I can drive power in Octane, just add a "range mapper"for example, between one of these two.So, I can give you an example of how that would work.I'll move these out of the way.So, let's say in Octane my light is at the darkest I want it to be, at apower of 1,000, and at the brightest I want to be at a power of 6,000. So in therange mapper I can set my output lower to 1,000, and my output upper to 6,000.Then I would go to my input range and change this to percent, and make sure myinput lower is 100. So now when my slider says zero, it's going to give theOctane light a power of 1,000. And when it's at 100%,it's going to give the Octane light a power of 6,000. And we would justput that in between the Xpresso rig and the Octane light, oremission material, or black body, or whatever you are going to use.Okay, so that's pretty much how that was done. I would open the scene, but it takeslike two minutes to load, and because it's like a couple... I think it'slike 200 million polygons or so. So I kind of feel like that might be a littlewaste of time. So the next thing... Let me just hop back to my presentation.This is actually a really interesting subject to me; trying to do depth of fieldin post with occluding objects. So, to give you an example of what I'm talkingabout, I've prepared a little quick scene file. Let me go ahead and crack that open.That's in here. Flip over to C4D. Okay, so one of the best ways I know how to explainthis is, thinking about a fence, and objects behind a fence. So if I go aheadand just open it. This is in Arnold, just so we can view it live pretty easily.Plus, I love Arnold. I also love Octane, both fantastic tools. So, right now we'refocused on the fence, but if I were to change my focus to that sphere in thebackground, my fence disappears. Now, how do I do that if I don't have those pixels?In a standard render or a traditional render, we wouldn't have thosekind of pixels. If I turn depth of field off, we'll see what we would be getting.So I don't have any of that information behind this fence. I actually ran intothis problem on a project I was working on.So now that I've illustrated what we're talking about, let me open that.This one takes a second to load.So this is a piece that I did for... well, it was kind of a personal project,but in the realm of Blizzard for "War Crimes."So basically we are going to use the Take system to set this scene upin a way that we can look at it in a proper depth of field environment.So, actually, you know what? It might be a better idea if I start offwith showing you the result, and then I'll show you how to set that up.Okay. So here is the standard way of doing depth of field. You know, it's all on onepass. And I add my depth of field, and like already, immediately, I'm gettingthis sort of like weird alias thing because I don't have that informationbehind this object. So ideally, what we want to do is separate. So we want thedragon. So we've got the dragon on one whole pass, and we'll have this hourglasson a separate pass. As well, we'll need... let me reorder these. We'll need anobject buffer for the dragon, so that we can cut it out. And then of course, we'llneed the Z-Depth for both objects. In this case, it'll actually work even if I don'thave the Z-Depth for the hourglass because in this particular frame the hourglass isthe piece that's in focus. But, you can see, already, if I just take my depth offield and copy it to the... I'm sorry, I need to pre-comp these.So I just pre-comped the dragon by itself. So if I apply the depth of field to thislayer... Let it chew on that for a second. You'll see now, we no longer have thatalias-ing sort of weird problem because we have all of the detail underneath. So letme just go ahead and show you how to set that up in C4D using the Take system.Okay, so let me clear these out. When you first jump into the Take system, this iswhat you get. So, we want to go ahead and add a new Take. And we're going to callthis one "beauty dragon." So how would we solo this dragon out? We would add...Actually sorry, we need to do that on the top level. We would add a compositingtag. So, we go "compositing." And as well, we would need to add a compositingtag to the hourglass. Okay, so now if I dive down into my dragon beauty pass,you'll notice that my settings here have been grayed out. So what I'll need to justdo is expose these to the Take system by right-clicking. I want to right-click"seen by camera" because that is what I want to expose. So for the hourglass inthis case, we're going to un-check "seen by camera." I'm sorry, that's the dragon.We want "seen by camera." And for the hourglass we aregoing to right-click, over-ride, and un-check that. So now we're just going toget the dragon by itself with the bounces and reflections and things like that ofthe hourglass. So that's one. And we're going to go ahead and duplicate this andwe'll call this, "beauty hourglass." And we're going to go do, just theinverse. So we'll un-check "seen by camera" on the dragon, and we'll check"seen by camera" on the hourglass. So now we want to jump into ourrender settings, and we're going to... Let me kill these and I'll make a new one.So we make a new render setting. We can actually use the token system to help usso we don't have to type in a name. Let's say we were going to do10 objects instead of 2, it'll spit out of names based on ourtakes, and we can set that up very easily here. Let me just copy some of these.So in our save dialog, if you click this little arrow over here,you get a drop-down. This is the render token system. And so we canpick "take" and we can also pick "project name." I like to do project namefirst, and then current take. And then we just set up the path, and thenwe're good. So what that's going to do here is, our frames are going to benamed, in this case, it's WarCrimes_SH04V4.And then it will say _whatever my take name is, so "beauty dragon"and then "beauty hourglass," and then the frame name.So, then as well, I also set up a separate utility pass,just adding the object buffers and the depth, in here.And then, basically, let's call this... I'll just select both of these and makesure "beauty" is selected. So now when I press "render," it renders a pictureviewer, for example. Actually, there's a really nice little render button righthere, where I can check my takes. And in this case, it's team-rendered a pictureviewer, we would want to "render marked takes to picture viewer." And that willspit us out the passes that we were just looking at in After Effects. So that'sthat. Okay, so this is something that I just stumbled upon, like a week and a halfago. I'm working on a short film for Star Wars. It's not for Star Wars,it's just a passion project. But, it's on the planet Endor... spoilers.Endor has trees everywhere. So, we've been looking at ways to handle trees.In this particular case, we wanted to use Arnold to render. Arnold actuallyworks better if you just throw the geometry at it, versus using "cards forleaves with transparency." What I stumbled upon was, using X-Particles in tandem withArnold's scene source procedurals, and I was literally able to load trillions andtrillions of polygons in a matter of seconds. So, we're actually going to dothat here, and cross our fingers that I don't blow the computer up.I'll go ahead and load this. What I have here is just a height map that I spit outof World Machine. And, I have an xp-emitter set up in object mode,pointing at the landscape, emitting from polygon area, so it's just going torandomly scatter. I have the mission set up to one million, shock in shock count.So when I just advance one frame, it's going to scatter one million particlesover this surface. I believe these kind of alias-noticeable edges, or lines, is abug, and that's going to be actually fixed in the next patch of X-Particles. So whatwe do from here with Arnold is we can add an Arnold tag, an Arnold parameters tag,and load in to X-Particles on every particle, an optimized file, essentially.So, the file we are going to load in... I'll go ahead and show you that.Let me disable this. I'll bring this up a little, so you can see.I'm trying to speed through all this so I can get everything in. So if I justgo ahead and load this, we'll see that it's just a tree. However,this tree is one million polygons, every little branch. Actually, let me re-centerthat. Every little leaf and whatnot are polygons, as you can see here. So, that'sthe model we're loading. Let me go ahead and switch back to the original camera.Oh, okay, there they are. So what we're going to do is essentially load that tree,procedurally, onto each one of those points in, on my computer it's 12 seconds.Okay, so let's just go ahead and do it, and cross our fingers.Plug in C4D to A, IPR window. All right, we're at 32 seconds. Here we go. Let's seehow long this takes. On the laptop, on that other side it was 12 seconds as well.Okay, so it's received the data, and we're starting to render. It's just going totake a second for us to actually see what we're getting. And there we go. This doestake a little while to render, but if I just kind of get a little box here, thisshould resolve fairly quickly. The render settings are a little lowalso, just so that it resolves here pretty quickly. But, what I can do is go to theArnold renderer, diagnostics, we're on debug level.So if I go to the console, I should actually be able to look at the number ofvisible triangles. I don't know if it's going to stay up here.But, if you can look at... Here, if I pull this down,I think I can actually stretch and hold... Okay, it seems to be staying.Visible triangles, 1.9 trillion. In like, I think we're at 8 or 10 seconds,with Arnold, in Cinema 4D. So that's actually pretty incredible.And I tip my hat to the guys at Solid Angle and over at X-Particlesfor making this happen. That's everything from me.- [Announcer] All right, all right. Ladies and gentlemen, Trevor Kerr.[applause]

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If you fail to comply with all of the requirements of Section 512(c)(3) of the DMCA, your DMCA Notice may not be effective. Please be aware that if you knowingly misrepresent that material or activity on the website is infringing your copyright, you may be held liable for damages (including costs and legal fees).

COUNTER-NOTIFICATION PROCEDURES.

If you believe that material you posted on the website was removed or access to it was disabled by mistake or misidentification, you may file a counter-notification with us (a “Counter-Notice”) by submitting written notification to our Copyright Agent (identified above). The Counter-Notice must include substantially the following:

Your physical or electronic signature;

An identification of the material that has been removed or to which access has been disabled and the location at which the material appeared before it was removed or access disabled;

Adequate information by which we can contact you (including your name, postal address, telephone number and, if available, e-mail address);

A statement under penalty of perjury by you that you have a good faith belief that the material identified above was removed or disabled as a result of a mistake or misidentification of the material to be removed or disabled;

A statement that you will consent to local Federal District Court jurisdiction, or if overseas, to an appropriate judicial body.

The DMCA allows us to restore the removed content if the party filing the original DMCA Notice does not file a court action against you within ten business days of receiving the copy of your Counter-Notice.

RELIANCE ON INFORMATION POSTED

The information presented on or through the website is made available solely for general information purposes. We do not make any statements regarding the accuracy, completeness or usefulness of this information. Any reliance you place on such information is strictly at your own risk. The website includes content provided by third parties, including materials provided by other users and third-party licensors. We are not responsible, or liable to you or any third-party, for the content or accuracy of materials provided by any third parties.

PRIVACY

All information we collect on the website is subject to our PRIVACY POLICY. By using the website, you consent to all actions taken by us with respect to your information in compliance with the Privacy Policy.

SUBSCRIPTIONS AND OTHER TERMS AND CONDITIONS

In addition to this Policy and the PRIVACY POLICY (collectively, the “website Policies”), all subscriptions to the Company’s products and services, are governed by our online click-through TERMS OF SERVICE, paper contract, or other stated terms, depending on the type of product/service/subscription you are using.

LINKS FROM THE WEBSITE

If the website contains links to other sites and resources provided by third parties, these links are provided for your convenience only. We have no control over the contents of those sites or resources, and accept no responsibility for them or for any loss or damage that may arise from your use of them. If you decide to access any third-party websites linked to the website, you do so entirely at your own risk and subject to the terms and conditions of use for such third-party websites.

LINKING TO THE WEBSITE AND SOCIAL MEDIA FEATURES

You may link to our homepage, provided you do so in a way that is fair and legal and does not damage our reputation or take advantage of it, but you must not establish a link in such a way as to suggest any form of association, approval or endorsement on our part. The website may provide certain social media features that enable you to:

Link from your own or certain third-party websites to certain content on the website;

Send e-mails or other communications with certain content or links to specific content on the website;

Cause limited portions of content on the website to be displayed or appear to be displayed on your own or certain third-party websites

You may use these features solely as they are provided by us, and solely with respect to the content they are displayed with, and otherwise in accordance with any additional terms and conditions we provide with respect to such features. Subject to the foregoing, you must not:

Establish a link from any website that is not owned by you;

Cause the website or portions of them to be displayed, or appear to be displayed by, for example, framing, deep linking or in-line linking, on any other site;

Link to any part of the website other than the homepage

Otherwise take any action with respect to the materials on the website that is inconsistent with any other provision of this Policy.

The website from which you are linking, or on which you make certain content accessible, must comply in all respects with the Content Standards set out in this Policy. You agree to cooperate with us in causing any unauthorized framing or linking immediately to cease. We reserve the right to withdraw linking permission without notice. We may disable all or any social media features and any links at any time without notice in our discretion.

NO PROMISES

YOUR USE OF THE WEBSITE OR ITEMS OBTAINED THROUGH THE WEBSITE IS AT YOUR OWN RISK. THE WEBSITE IS PROVIDED ON AN “AS IS” AND “AS AVAILABLE” BASIS, WITHOUT ANY PROMISES OF ANY KIND, EITHER EXPRESS OR IMPLIED. NEITHER THE COMPANY NOR ANY PERSON ASSOCIATED WITH THE COMPANY MAKES ANY PROMISE, WARRANTY OR REPRESENTATION WITH RESPECT TO THE COMPLETENESS, SECURITY, RELIABILITY, QUALITY, ACCURACY OR AVAILABILITY OF THE WEBSITE. WITHOUT LIMITING THE FOREGOING, NEITHER THE COMPANY NOR ANYONE ASSOCIATED WITH THE COMPANY PROMISES, REPRESENTS OR WARRANTS THAT THE WEBSITE OR ITEMS OBTAINED THROUGH THE WEBSITE OR ANY PORTION THEREOF WILL BE ACCURATE, RELIABLE, ERROR-FREE OR UNINTERRUPTED, THAT DEFECTS WILL BE CORRECTED, THAT THE WEBSITE OR THE SERVER THAT MAKES THEM AVAILABLE ARE FREE OF VIRUSES OR OTHER HARMFUL COMPONENTS, OR THAT THE WEBSITE OR ITEMS OBTAINED THROUGH THE WEBSITE WILL OTHERWISE MEET YOUR NEEDS OR EXPECTATIONS. THE COMPANY HEREBY DISCLAIMS ALL WARRANTIES OF ANY KIND, WHETHER EXPRESS OR IMPLIED, STATUTORY OR OTHERWISE, INCLUDING BUT NOT LIMITED TO ANY WARRANTIES OF MERCHANTABILITY, NON-INFRINGEMENT AND FITNESS FOR PARTICULAR PURPOSE.

LIMITATION OF LIABILITY

TO THE MAXIMUM EXTENT PERMITTED BY LAW, IN NO EVENT SHALL THE COMPANY, ITS LICENSORS, AFFILIATES, EMPLOYEES, AGENTS, OFFICERS OR DIRECTORS BE LIABLE TO YOU OR ANY THIRD-PARTY FOR ANY SPECIAL, PUNITIVE, INCIDENTAL, INDIRECT OR CONSEQUENTIAL DAMAGES OF ANY KIND, OR ANY DAMAGES WHATSOEVER, INCLUDING, WITHOUT LIMITATION, THOSE RESULTING FROM LOSS OF USE, LOSS OF DATA, OR LOSS OF PROFITS, WHETHER OR NOT WE HAVE BEEN ADVISED OF THE POSSIBILITY OF SUCH DAMAGES, AND ON ANY THEORY OF LIABILITY, ARISING OUT OF OR IN CONNECTION WITH THE USE OF THE WEBSITE OR OF ANY WEBSITE REFERENCED OR LINKED TO FROM OUR WEBSITE. YOU WILL BE RESPONSIBLE FOR ALL CLAIMS AND DAMAGES RESULTING FROM THE MISUSE OF THE WEBSITE BY YOU.

CHANGES

We reserve the right, in our sole discretion, to change the terms of this Policy at any time. Any changes are effective immediately upon posting to the website. Your continued use of the website constitutes your agreement to all such terms and conditions.

EQUITABLE RELIEF

You acknowledge that a breach of any confidentiality or proprietary rights provision of this Policy may cause the Company irreparable damage, for which the award of damages would not be adequate compensation. Consequently, the Company may institute an action to enjoin you from any and all acts in violation of those provisions, which remedy shall be cumulative and not exclusive, and the Company may seek the entry of an injunction enjoining any breach or threatened breach of those provisions, in addition to any other relief to which the Company may be entitled at law or in equity.

GOVERNING LAW AND VENUE

This Policy shall be construed and governed by the laws of the State of California, without regard to the principles of conflict of laws thereof. You agree and accept that any legal action or proceeding shall be brought in the federal or state courts for the State of California, County of Ventura, and you expressly waive any objection to personal jurisdiction, venue or forum non conveniens.

SEVERABILITY

If any provision of this Policy is held by a court of competent jurisdiction to be contrary to law, such provision shall be changed and interpreted so as to best accomplish the objectives of the original provision to the fullest extent allowed by law and the remaining provisions of this Policy will remain in full force and effect.

WAIVER AND AMENDMENT

If the Company fails to insist upon strict performance of your obligations under any of these terms and conditions, or if the Company fails to exercise any of the rights or remedies to which it is entitled under this Policy, this will not constitute a waiver of such rights or remedies and will not relieve you from compliance with such obligations. No waiver by the Company of any default will constitute a waiver of any subsequent default, and no waiver by the Company of any of these terms and conditions will be effective unless it is expressly stated to be a waiver and is communicated to you in writing.

GEOGRAPHIC RESTRICTIONS

Software, functionality, and/or features (collectively, “Service Functionality”), that may be available on or through the website from time-to-time, are subject to United States Export Controls. No Service Functionality from the website may be downloaded or exported (i) into (or to a resident of) Iraq, Cuba, Libya, North Korea, Iran, Syria, or any other country which the United States has embargoed goods; or (ii) anyone on the United States Treasury Department's list of Specially Designated Nationals or the United States Commerce Department's Table of Deny Orders. By downloading or using any Service Functionality, you represent and warrant that you are not located in, under the control of, or a national or resident of any such country or on any such list. Although the website may be accessible worldwide, we make no representation that materials on the website are appropriate or available for use in locations outside the United States and accessing them from territories where their contents are illegal, is prohibited. Those who choose to access the website from other locations do so at their own initiative and are responsible for compliance with local laws. Any offer for any product, service, and/or information made in connection with the Services is void where prohibited.

FUTURE BUSINESS TRANSACTIONS

As we continue to develop our business, we might undergo a change of ownership such as a merger and/or a sale of all or substantially all our stock or assets. In such transactions, user information generally is one of the transferred business assets, and by submitting any data or contributions (collectively, “Data”) to us, you agree that such Data may be transferred to such parties in these circumstances. However, any party purchasing our assets will be subject to an obligation to maintain the integrity of your personally identifiable information.

COMPLETE UNDERSTANDING

This Policy, together with the documents expressly referred to herein, constitutes the sole and entire agreement between you and the Company with respect to the website and supersedes all prior and contemporaneous understandings, agreements, representations and warranties, both written and oral, with respect to the website.

YOUR COMMENTS AND CONCERNS

The website is operated by Maxon Computer, Inc. If you have any questions, please contact us via email at info@cineversity.com. If you want to send us notices or service of process, please mail us at: